Suchergebnisse

On December 8, 2012, in the last speech of the late Comandante Hugo Chávez, the issue of Venezuelan sovereignty reached its climax with the succinct phrase – 'Today we have Homeland! (Patria)'. Currently, Venezuela is going through a large-scale political conflict, trying to make sense of a pressing economic and humanitarian crisis. The so-called Bolivarian Revolution that began in 1999 as a project of revolutionary and anti-imperialist democracy, plays out today at an unprecedented geopolitical scale, increasingly appearing in international media, a media that distorts the many points of tension between the war and the resistance that Venezuelans experience in their daily lives. The slogan 'We have Homeland! (Patria)' has become the center of discord, splitting this nation: while some defend Venezuelan nationalist socialism, others oppose the system that has 'ruined' the country's economy. This photographic essay, produced between 2012 and 2016, as a part of the author's ethnographic work on geographies and socialist societies in Venezuela, shows the complex ways in which the discourse of national and territorial sovereignty materializes in the state, in the body, in the ways of life, in the city, in the neighborhoods and in the deserters of the Venezuelan socialist regime that faces neoliberal globalization. Living between the borders of two economies articulated by the state, one socialist and the other capitalist, renders the Venezuelan spirit a subject that is both challenging and contradictory, something that manifests itself in Bolivarianism, the cult of Chávez, the attachment to consumer goods, the 'escape' from the system (even in the Caribbean Sea) and the anguish over the economic and political confinement of lives.

On December 8, 2012, in the last speech of the late Comandante Hugo Chávez, the issue of Venezuelan sovereignty reached its climax with the succinct phrase – 'Today we have Homeland! (Patria)'. Currently, Venezuela is going through a large-scale political conflict, trying to make sense of a pressing economic and humanitarian crisis. The so-called Bolivarian Revolution that began in 1999 as a project of revolutionary and anti-imperialist democracy, plays out today at an unprecedented geopolitical scale, increasingly appearing in international media, a media that distorts the many points of tension between the war and the resistance that Venezuelans experience in their daily lives. The slogan 'We have Homeland! (Patria)' has become the center of discord, splitting this nation: while some defend Venezuelan nationalist socialism, others oppose the system that has 'ruined' the country's economy. This photographic essay, produced between 2012 and 2016, as a part of the author's ethnographic work on geographies and socialist societies in Venezuela, shows the complex ways in which the discourse of national and territorial sovereignty materializes in the state, in the body, in the ways of life, in the city, in the neighborhoods and in the deserters of the Venezuelan socialist regime that faces neoliberal globalization. Living between the borders of two economies articulated by the state, one socialist and the other capitalist, renders the Venezuelan spirit a subject that is both challenging and contradictory, something that manifests itself in Bolivarianism, the cult of Chávez, the attachment to consumer goods, the 'escape' from the system (even in the Caribbean Sea) and the anguish over the economic and political confinement of lives.

In 2014 in Guasipati, an agricultural and cattle town in Southeastern Venezuela, I witnessed a group of men of all generations who staged themselves through the orgasmic rite of cockfights. In Geertz's famous ethnography of cockfighting in Bali, the 'irrationality' of betting appears at first as surprising. But cockfighting is a game that dramatizes status and tests group solidarity, it is a measure of moral import and of meaning. This photographic record of masculinities at play in cockfighting builds on Geertz' interpretation. The images were taken in the gallera (cockpit) of Guasipati during a clandestine night. It is here that the participating men engage in a form of capitalist communication that directly questions the Bolivarian Revolution. Many are workers within socialist enterprises, and they tremendously enjoy this illegal and transgressive activity. Within this space, the patterns of exchange become competitive and inscribed in subterranean capitalist circuits, evoking a symbolism of masculine power disputes (who is a man and who not) vis-à-vis the prohibitions of socialism. It is here that illegal enrichment that serves as a source and mark of status within the state controlled economy is effectively played out. Behind the individual and collective euphoria seen in the photographs, there are even more euphoric social tensions of betting and status at work.

El siguiente artículo destaca la importancia epistemológica y metodológica de la sociología visual. Se explica el "hecho social-visual" como dispositivo teórico y técnico que funciona a través de la reflexividad, el sentido y la experiencia social de quienes tienen el "poder de ver" y en donde recaen sus miradas; en otras palabras, el mundo social y perceptivo de quienes son "vistos". Se desentraña así un conocimiento sociológico de cómo se puede mirar y ser mirado. Recuperamos nuestras investigaciones, donde la fotografía funge como plataforma de interacción visual, la primera sobre el impacto de la reclusión en el ámbito doméstico y la segunda sobre la escenificación de jóvenes precarizados más allá de la porno-violencia.

Este artículo analiza las representaciones de los jóvenes de los sectores populares en América Latina como figuras demonizadas desde un marco analítico que contribuye a su deconstrucción. Mediante el método figurativo y herramientas de la etnografía digital, analizamos tres figuras paradigmáticas de este tipo en la región: los chakas en México, los flaites en Chile y los pibes chorros en Argentina. Examinamos cómo son construidas en el lenguaje mediático, político y cotidiano, identificando atributos estéticos, morales y culturales marcados por fuertes connotaciones racistas y clasistas. Se destaca el carácter performativo de estas figuras y se exploran espacios de resistencia y resignificaciones del estigma a través de expresiones musicales como el rap, el trap, la cumbia y el reguetón. El abordaje teórico-metodológico desarrollado en este trabajo permite repensar y desclasificar a los grupos y minorías desfavorecidas, cuestionando las imágenes homogeneizadoras que los negativizan, reinterpretando sus prácticas como prácticas situadas en contextos de desventajas simbólicas y materiales.

This article analyzes the representations of disadvantaged youth in Latin America, constructed as demonized figures, from an analytical framework that contributes to their deconstruction. Using the figurative method and digital ethnography tools, we analyze three paradigmatic figures of this type in the region: chakas, in Mexico, flaites in Chile, and pibes chorros in Argentina. We examine how they are constructed in the media, political and everyday language, identifying aesthetic, moral and cultural attributes marked by strong racist and class connotations. The performative character of these figures is highlighted, and spaces of resistance and resignifications of the stigma are analyzed through musical expressions such as rap, trap, cumbia and reggaeton. The theoretical and methodological approach developed in this work contributes to rethinking and declassifying disadvantaged groups and minorities, questioning the homogenizing images that negativize them, reinterpreting their practices as practices situated in contexts of symbolic and material disadvantages. ; Este artículo analiza las representaciones de los jóvenes de los sectores populares en América Latina como figuras demonizadas desde un marco analítico que contribuye a su deconstrucción. Mediante el método figurativo y herramientas de la etnografía digital, analizamos tres figuras paradigmáticas de este tipo en la región: los chakas en México, los flaites en Chile y los pibes chorros en Argentina. Examinamos cómo son construidas en el lenguaje mediático, político y cotidiano, identificando atributos estéticos, morales y culturales marcados por fuertes connotaciones racistas y clasistas. Se destaca el carácter performativo de estas figuras y se exploran espacios de resistencia y resignificaciones del estigma a través de expresiones musicales como el rap, el trap, la cumbia y el reguetón. El abordaje teórico-metodológico desarrollado en este trabajo permite repensar y desclasificar a los grupos y minorías desfavorecidas, cuestionando las imágenes ...

Este artículo analiza las representaciones de los jóvenes de los sectores populares en América Latina como figuras demonizadas desde un marco analítico que contribuye a su deconstrucción. Mediante el método figurativo y herramientas de la etnografía digital, analizamos tres figuras paradigmáticas de este tipo en la región: los chakas en México, los flaites en Chile y los pibes chorros en Argentina. Examinamos cómo son construidas en el lenguaje mediático, político y cotidiano, identificando atributos estéticos, morales y culturales marcados por fuertes connotaciones racistas y clasistas. Se destaca el carácter performativo de estas figuras y se exploran espacios de resistencia y resignificaciones del estigma a través de expresiones musicales como el rap, el trap, la cumbia y el reguetón. El abordaje teórico-metodológico desarrollado en este trabajo permite repensar y desclasificar a los grupos y minorías desfavorecidas, cuestionando las imágenes homogeneizadoras que los negativizan, reinterpretando sus prácticas como prácticas situadas en contextos de desventajas simbólicas y materiales. ; This article analyzes the representations of disadvantaged youth in Latin America, constructed as demonized figures, from an analytical framework that contributes to their deconstruction. Using the figurative method and digital ethnography tools, we analyze three paradigmatic figures of this type in the region: chakas, in Mexico, flaites in Chile, and pibes chorros in Argentina. We examine how they are constructed in the media, political and everyday language, identifying aesthetic, moral and cultural attributes marked by strong racist and class connotations. The performative character of these figures is highlighted, and spaces of resistance and resignifications of the stigma are analyzed through musical expressions such as rap, trap, cumbia and reggaeton. The theoretical and methodological approach developed in this work contributes to rethinking and declassifying disadvantaged groups and minorities, questioning the homogenizing images that negativize them, reinterpreting their practices as practices situated in contexts of symbolic and material disadvantages. ; Esta investigación contó con el apoyo de la Dirección General de Asuntos del Personal Académico (DGAPA) de la Universidad Nacional Autónoma de México, a través del Programa de Apoyos Para la Superación del Personal Académico (PASPA) durante la estancia sabática realizada como investigadora visitante en el Instituto de Investigaciones Gino Germani, de la Universidad de Buenos Aires, Argentina.